9ENGLISH        Part III
9      A Journey throughAnglo-American Literature               English               Learner’s Material                   This instructional material was collaboratively developed and re-          viewed by educators from public and private schools, colleges, and/or          universities. We encourage teachers and other education stakehold-          ers to email their feedback, comments, and recommendations to the          Department of Education at [email protected].                   We value your feedback and recommendations.                                        Department of Education                                       Republic of the Philippines
A Journey through Anglo-American Literature – Grade 9English - Learner’s MaterialFirst Edition, 2014ISBN: 978-971-9601-77-7          Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Governmentof the Philippines. However, prior approval of the government agency or office wherein the work is createdshall be necessary for exploitation of such work for profit. Such agency or office may, among other things,impose as a condition the payment of royalties.          Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trade- marks,etc.) included in this book are owned by their respective copyright holders. DepEd is represented by theFilipinas Copyright Licensing Society (FILCOLS), Inc. in seeking permission to use these materials fromtheir respective copyright owners. The publisher and authors do not represent nor claim ownership overthem.Published by the Department of EducationSecretary: Br. Armin A. Luistro FSCUndersecretary: Dina S. Ocampo, PhD                                  Development Team of the Learner’s Material Authors: Liza R. Almonte, Lerma L. Flandez, Nedia Lagustan, Henone de Paz-              Langutan, Dream Rose O. Malayo, Liberty A. Mangaluz, Elenita R. Miranda,              Lito A. Palomar, Adelia Chua-Soliaban, and Grace Annette B. Soriano Consultants: Marla C. Papango and Edison A. Fermin, PhD Reviewers: Ruth A. Alido, Elizabeth V. Meneses, Rebecca Sagot, and Maricar T. Caberos Language Editor: Ma. Antoinette C. Montealegre, PhD Book Designer: Annie Lumbao, Visual Communication Depertment,                        UP College of Fine Arts Management Team: Dir. Jocelyn DR. Andaya, Jose D. Tuguinayo Jr., PhD, Melinda                               P. Rivera, PhD, Ricardo G. Ador Dionisio, and Peter Tentoco IIIPrinted in the Philippines by Vibal Group, Inc.Department of Education-Instructional Materials Council Secretariat (DepEd-IMCS)Office Address:  5th Floor Mabini Building, DepEd Complex                 Meralco Avenue, Pasig City,Telefax:         Philippines 1600E-mail Address:  (02) 634-1054 o 634-1072                 [email protected]
TABLE OF CONTENTSMODULE 3 – Connecting to the World ��������������������������������������������233      Lesson 1: Through Technology �����������������������������������������������������������������������234               YOUR JOURNEY ����������������������������������������������������������������������������������������234               YOUR OBJECTIVES �����������������������������������������������������������������������������������234               YOUR INITIAL TASKS ������������������������������������������������������������������������������� 235                   Task 1: Looking Up��������������������������������������������������������������������������������� 235                   Task 2: Touching You, Touching Me�����������������������������������������������������236                   Task 3: Linking Together �����������������������������������������������������������������������236                   Task 4: Breaking Barriers ���������������������������������������������������������������������� 237                   Task 5: Bonding Together����������������������������������������������������������������������238                   Task 6: Extracting Information �������������������������������������������������������������239               YOUR TEXT               Sorry, Wrong Number (A Radio Play)                   Task 7: Getting the Chill������������������������������������������������������������������������� 251                   Task 8: Crossing Difficulties ������������������������������������������������������������������ 252                   Task 9: Tuning In ����������������������������������������������������������������������������������� 252                   Task 10: Delving Deeper ������������������������������������������������������������������������ 252                   Task 11: Firming Up ������������������������������������������������������������������������������� 253                   Task 12: Sounding Words Correctly������������������������������������������������������254                   Task 13: Enjoying My Passion ��������������������������������������������������������������� 255               YOUR DISCOVERY TASKS                   Task 14: Getting into the World of Laughter and Tears ����������������������� 257                   Task 15: Revisiting the Radio Play���������������������������������������������������������258                   Task 16: Connecting Lives ���������������������������������������������������������������������258               YOUR FINAL TASK                   Task 17: Getting a Clear Picture�������������������������������������������������������������259               MY TREASURE�������������������������������������������������������������������������������������������260
Lesson 2: Making a Difference ������������������������������������������������������������������������ 261       YOUR JOURNEY ���������������������������������������������������������������������������������������� 261       YOUR OBJECTIVES ����������������������������������������������������������������������������������� 261       YOUR INITIAL TASKS �������������������������������������������������������������������������������262            Task 1: Promoting Advocacy������������������������������������������������������������������262            Task 2: Messaging Electronically ����������������������������������������������������������262            Task 3: Emulating Accomplished People����������������������������������������������263            Task 4: Considering Options �����������������������������������������������������������������264            Task 5: Figuring Out ������������������������������������������������������������������������������264       YOUR TEXT       For Conversation, Press #1 (Michael Alvear)            Task 6: Stimulating Responsibilities�����������������������������������������������������265            Task 7: Understanding the Text ������������������������������������������������������������266            Task 8: Enriching Your Experience������������������������������������������������������� 267       YOUR DISCOVERY TASKS            Task 9: Recalling Events: Throwback Mode�����������������������������������������269            Task 10: Delving Deeper ������������������������������������������������������������������������269            Task 11: Firming Up �������������������������������������������������������������������������������270            Task 12: Enriching Your Experience �����������������������������������������������������270            Task 13: Sounding Words Correctly ������������������������������������������������������ 271            Task 14: Sharing My World ������������������������������������������������������������������� 272            Task 15: Going into the World of Acting ����������������������������������������������� 275       YOUR FINAL TASKS            Task 16: Getting Immersed�������������������������������������������������������������������� 277            Task 17: Getting the Whole Picture ������������������������������������������������������� 279       MY TREASURE������������������������������������������������������������������������������������������ 280
Lesson 3: Despite Differences in Points of View������������������������������������������ 281        YOUR JOURNEY ���������������������������������������������������������������������������������������� 281        YOUR OBJECTIVES ����������������������������������������������������������������������������������� 281        YOUR INITIAL TASKS �������������������������������������������������������������������������������282            Task 1: Logic, Facts or Appeal ���������������������������������������������������������������282            Task 2: Be Wise ��������������������������������������������������������������������������������������282            Task 3: A Time for Us�����������������������������������������������������������������������������283            Task 4: Unscrambled the Letters�����������������������������������������������������������284       YOUR TEXT       The Story of Romeo and Juliet (based on the play           by William Shakespeare, as told by Bart Marks)            Task 5: Search and Match����������������������������������������������������������������������285            Task 6: Making Connections �����������������������������������������������������������������292            Task 7: Connect and Kinect �������������������������������������������������������������������293            Task 8: Language in Use ������������������������������������������������������������������������295            Task 9: Act and Communicate���������������������������������������������������������������296       YOUR DISCOVERY TASK            Task 10: Life’s Linkages �������������������������������������������������������������������������299       YOUR FINAL TASKS            Task 11: Write Now�������������������������������������������������������������������������������� 300            Task 12: Lights Camera Action!������������������������������������������������������������� 301       MY TREASURE������������������������������������������������������������������������������������������� 301Lesson 4: With Fortitude and Determination ����������������������������������������������303       YOUR JOURNEY ����������������������������������������������������������������������������������������303       YOUR OBJECTIVES �����������������������������������������������������������������������������������303       YOUR INITIAL TASKS �������������������������������������������������������������������������������304            Task 1: Listen, Think, and React������������������������������������������������������������304            Task 2: Audience Point of View �������������������������������������������������������������304
YOUR TEXT       Romeo and Juliet (William Shakespeare)            Task 3: Factual Recount�������������������������������������������������������������������������309            Task 4: Sharing Interpretations ������������������������������������������������������������ 310            Task 5: Connecting with the Text �����������������������������������������������������������311            Task 6: Language at Work ��������������������������������������������������������������������� 314            Task 7: Speak Up ������������������������������������������������������������������������������������ 314            Task 8: Figure it Out ������������������������������������������������������������������������������ 318            Your Discovery Task            Task 9: Shanty Craft������������������������������������������������������������������������������� 319            Task 10: Modern Revision ��������������������������������������������������������������������� 319            Task 11: A Twist �������������������������������������������������������������������������������������� 319       YOUR FINAL TASK            Task 12: Get it on Paper �������������������������������������������������������������������������320            MY TREASURE ������������������������������������������������������������������������������������� 321Lesson 5: Across Time�������������������������������������������������������������������������������323YOUR JOURNEY ����������������������������������������������������������������������������������������������� 323       YOUR OBJECTIVES �����������������������������������������������������������������������������������323       YOUR INITIAL TASKS �������������������������������������������������������������������������������324            Task 1: Read On��������������������������������������������������������������������������������������324            Task 2: Tune In��������������������������������������������������������������������������������������� 325       YOUR TEXT       Romeo and Juliet (William Shakespeare)            Task 3: Think Through���������������������������������������������������������������������������338            Task 4: Talk Back �����������������������������������������������������������������������������������339             Task 5: Panel Forum �����������������������������������������������������������������������������339             Task 6: Grammar in Focus��������������������������������������������������������������������340            Task 7: Word-Hoard ������������������������������������������������������������������������������ 341            Task 8: Take Down Game����������������������������������������������������������������������342
YOUR DISCOVERY TASKS            Task 9: SGD ��������������������������������������������������������������������������������������������343       YOUR FINAL TASK            Task 10: Director’s Promptbook������������������������������������������������������������344       MY TREASURE������������������������������������������������������������������������������������������� 345Lesson 6: Despite Differences in Social Class����������������������������������������������� 347       YOUR JOURNEY ���������������������������������������������������������������������������������������� 347       YOUR OBJECTIVES ����������������������������������������������������������������������������������� 347       YOUR INITIAL TASKS �������������������������������������������������������������������������������348            Task 1: Activate Your Mind��������������������������������������������������������������������348            Task 2: Observe and Imitate������������������������������������������������������������������348            Task 3: Photo React��������������������������������������������������������������������������������349            Task 4: From Mind to Pictures: Share What You Know ���������������������� 351       YOUR TEXT       While the Auto Waits by O. Henry (adapted for the stage by Walter       Wykes)            Task 5: What’s the Word������������������������������������������������������������������������ 359            Task 6: Recognizing Literary Device Characterization ������������������������360            Task 7: Play in Progress �������������������������������������������������������������������������360            Task 8: Plot Diagram �����������������������������������������������������������������������������362            Task 9: The O’ Henry Twist �������������������������������������������������������������������363            Task 10: Pair Work���������������������������������������������������������������������������������364            Task 11: Cartoon Talk����������������������������������������������������������������������������� 365       YOUR DISCOVERY TASKS            Task 12: Connection with Oppression���������������������������������������������������366            Task 13: Social Class Exploration ����������������������������������������������������������366            Task 14: Silent Movie ����������������������������������������������������������������������������� 367            Task 15: Writing Your Own��������������������������������������������������������������������368
YOUR FINAL TASK            Task 16: Writing a Character Sketch �����������������������������������������������������368       MY TREASURE�������������������������������������������������������������������������������������������370Lesson 7: Despite Racial Differences ��������������������������������������������������������������371       YOUR JOURNEY �����������������������������������������������������������������������������������������371       YOUR OBJECTIVES ������������������������������������������������������������������������������������371       YOUR INITIAL TASKS ������������������������������������������������������������������������������� 372            Task 1: Meet New Words ����������������������������������������������������������������������� 372            Task 2: Checkpoint��������������������������������������������������������������������������������� 373            Task 3: Look Who’s Talking?����������������������������������������������������������������� 374       YOUR TEXT       Driving Miss Daisy – excerpt (Alfred Uhry)            Task 4: Sequencing Events ��������������������������������������������������������������������390            Task 5: Character Traits������������������������������������������������������������������������� 391            Task 6: Bridging the Gap ����������������������������������������������������������������������� 391            Task 7: Hashtags – Level of Utterances ������������������������������������������������392            Task 8: Writer’s Block����������������������������������������������������������������������������392            Task 9: Learn Grammar�������������������������������������������������������������������������393       YOUR DISCOVERY TASKS            Task 10: Getting Deeper������������������������������������������������������������������������� 395            Task 11: Memory Lane ��������������������������������������������������������������������������� 397            Task 12: Group Differentiated Task ������������������������������������������������������398            Task 13: Recognizing Literary Device ���������������������������������������������������398       YOUR FINAL TASK            Task 14: Writing on Your Own ��������������������������������������������������������������399       MY TREASURE������������������������������������������������������������������������������������������ 400
Lesson 8: Transcending Differences �������������������������������������������������������������� 401       YOUR JOURNEY ���������������������������������������������������������������������������������������� 401       YOUR OBJECTIVES ����������������������������������������������������������������������������������� 401       YOUR INITIAL TASKS �������������������������������������������������������������������������������402            Task 1: Theater Vocabulary��������������������������������������������������������������������402            Task 2: Verbalize Your Thoughts ����������������������������������������������������������403            Task 3: Level Up �������������������������������������������������������������������������������������404       YOUR TEXT       Driving Miss Daisy – Part II (Alfred Uhry)            Task 4: Sequencing of Events ��������������������������������������������������������������� 408            Task 5: Establishing Links ���������������������������������������������������������������������409            Task 6: Revisit and Connect ������������������������������������������������������������������409            Task 7: Learn Grammar������������������������������������������������������������������������� 410       YOUR DISCOVERY TASKS            Task 8: News in the Inbox ��������������������������������������������������������������������� 413            Task 9: Let’s Talk������������������������������������������������������������������������������������ 413             Task 10: Film Review ���������������������������������������������������������������������������� 415             Task 11: Recognizing Literary Device ��������������������������������������������������� 415            Task 12: Examples of Play Script����������������������������������������������������������� 417            Task 13: Driving Ms. Daisy, The Movie������������������������������������������������� 418       YOUR FINAL TASKS            Task 14: Composing a Play Synopsis����������������������������������������������������� 418            Task 15: The Write and Act Stuff �����������������������������������������������������������420       MY TREASURE�������������������������������������������������������������������������������������������420
INTRODUCTION    This learner’s material is specially designed to provide you roads to cooperative, col-laborative, and independent learning of the target themes, concepts, and competenciesthat will develop your 21st century real life-based skills. It is anchored on the generalprinciples, goals, and objectives of the K-12 Basic Education Program for junior high schoolthat centers on making you to a functionally literate individual.    This learner’s material provides a variety of texts, particularly Anglo-American literarypieces that are both relevant and meaningful to your life. It offers opportunities for youto engage in varied, interesting, challenging, and meaningful tasks to further developand improve your listening, viewing, reading, speaking, writing, vocabulary, literary, andgrammar skills. The integration of literature and language skills will help deepen under-standing of how you can enrich and enhance your life through valuing the self, otherpeople’s lives, and the world.    There are four modules in this learning material. Each module builds around a par-ticular text for you to explore meaningfully through engaging yourself in a variety ofintegrated, challenging, and interesting tasks.                   Module 1. Enhancing the Self                   Module 2. Valuing Others and Their Circumstances                   Module 3. Connecting to the World                   Module 4. Unchanging Values in a Changing World    Each module consists of several lessons wherein each lesson is comprised of thefollowing parts:           1. Your Journey – provides an overview of what you should understand                in the lesson. This includes clear directions and the purpose of the lesson.           2. Your Objectives – states the expectations in line with what you should                know, understand, and be able to do, produce, or perform to show there is                transfer of learning.           3. Your Initial Tasks – diagnoses and activates your prior knowledge and                prepares you for higher level tasks.           4. Your Text – presents the main reading or literary text and the activities/                tasks that will lead you to acquire knowledge, make sense,of and construct                meaning out of the information and experiences contained therein.                                                          xxvii
5. Your Discovery Tasks – includes activities that will expand, enrich, en-                hance, and broaden your understanding of the target concepts and skills.           6. Your Final Task – presents the real life-based product or performance                task as final output for the lesson that serves as evidence of understanding or                transfer of learning of the target concepts and skills. This is an enabling task                for the main real-life based product or performance task covering the entire                module.           7. My Treasure – enables you to express your insights, learning, and reali-                zations on the lesson. This part contains prompts and other graphic organizers                that will help you sum up and synthesize what you have learned.         This learner’s material includes formal pre – and post assessments by module inboth written response and multiple-choice formats.          We hope that through this material, you will be provided with meaningful learn-ing experiences and relevant competencies necessary for you to successfully meet thedemands of the 21st century.                                                          xxviii
LESSON 1THROUGH TECHNOLOGY       YOUR JOURNEY:             Distance is being defied by         information technology. Through         this latest technology, you can         virtually travel or reach other         places and connect to people         around the globe. Thus, you         can transfer messages very fast         through the primary means of         communication—the telephone         or cell phone.              This lesson allows you to         discover the extent to which you         can connect to other people with         different personalities and needs.         Do you care to extend a lifeline to         somebody in distress no matter         how risky the situation? How else         can you be a channel of hope for those in need?        YOUR OBJECTIVES         For you to answer these core questions, and for you to be on the right track of         your journey, you have to realize the following:         • analyze a one-act radio play         • employ appropriate listening strategies suited to a one-act play         • extract important information from argumentative/persuasive texts         • produce the vowel sounds correctly                                                           234
• analyze a radio play as a means of connecting to the world• be familiar with the technical terms and stage layout for drama and theater• recognize gerund and its uses• identify features of a one-act play• explain how the elements specific to a one-act play contribute to the development    of its theme• enhance experience through the library’s information sources  YOUR INITIAL TASKSTASK 1. Looking UpHow do you respond to an emergency situation? Whom do you call for help?For each critical situation below, indicate your life-saving solution. Cite youropinion for giving such a solution.                Critical situation         Life-saving solution1. Your neighbor’s house is on fire.2. A woman’s purse is snatched in front    of you inside a jeepney.3. Somebody in fear and in panic calls on    your cell phone asking for your help.4. Your mother complains of dizziness    and falls to the ground unconscious.5. A hazardous chemical in the Chemis-    try Lab spills producing smoke and a    suffocating scent.235
TASK 2. Touching You, Touching Me         View this Power Point slides (to be presented by your teacher) and respond to         it by interpreting the meaning expressed in the song excerpt “Take That-Reach         Out.”Slide 1 _____________________________________________________________________          _____________________________________________________________________Slide 2 _____________________________________________________________________          _____________________________________________________________________Slide 3 _____________________________________________________________________          _____________________________________________________________________Slide 4 _____________________________________________________________________          _____________________________________________________________________Slide 5 _____________________________________________________________________          _____________________________________________________________________       TASK 3. Linking Together             1. What is your most important use of a cell phone? Have you used it to call                  for help?             2. The word maze contains three sets of synonymous words. Write beside                  each other the words with almost the same meaning.                                                           236
amble            drowsing        appreciationrunning  credit       slow walk  sleepingTASK 4 Breaking BarriersReading of the text:Listen carefully as your teacher reads the poem, “The Telephone” by EdwardField. Then, read it with your classmates                               The Telephone                                        by Edward Field         My happiness depends on an electric appliance         And I do not mind giving it so much credit         With life in this city being what it is         Each person separated from friends         By a tangle of subways and buses         Yes my telephone is my joy         It tells me that I am in the world and wanted         It rings and I am alerted to love or gossip         I go comb my hair which begins to sparkle         Without it I was like a bear in a cave         Drowsing through a shadowy winter         It rings and spring has come         I stretch and amble out into the sunshine         Hungry again as I pick up the receiver         For the human voice and the good news of friends      The Telephone by Edward Field, from Counting Myself      Lucky. © Black Sparrow Press, 1992.                 237
TASK 5 Bonding TogetherStudents work in groups of 7 to 10 to discuss the message of the poem.Group 1 Gratitude         My happiness depends on an electric appliance.         And I do not mind giving it so much credit.    Guide questions:         What is the predominant feeling of the speaker in these lines? Why does         he feel that way?Group 2 Obstacle         With life in this city being what it is         Each person separated from friends         By a tangle of subways and buses    Guide question:         Why are friends disconnected?Group 3 Pleasure         Yes my telephone is my joy         It tells me that I am in the world and wanted         It rings and I am alerted to love or gossip         I go comb my hair which begins to sparkle    Guide question:         How does the speaker justify his joy of having a telephone?Group 4 Spring         Without it I was like a bear in a cave         Drowsing through a shadowy winter         It rings and spring has come    Guide questions:    a. To what does the speaker compare man’s situation before the advent of         the telephone?                                                 238
b. What value do people give to the telephone when he has the access to it?    c. What literary device is used here?Group 5 Connection                  I stretch and amble out into the sunshine                  Hungry again as I pick up the receiver                  For the human voice and the good news of friends    Guide questions:         What does the speaker hunger for? Is he capable of connecting to the world?         Explain.TASK 6 Extracting Information    Through technology, you are able to read, watch to, and listen to a lot ofinformation. These information may influence you to believe certain ideas andpush you to take some form of action. Some information may also dissuade youfrom believing or doing other things.    Many writers use argumentative texts to persuade the readers to agreeto their points of view. Writers do so, not just by presenting information, butby showing the pros and cons of an issue. In extracting information from an ar-gumentative text, you must be able to note the issue and the supporting (pros)and opposing (cons) opinions about the issue.TOPIC:___________________________________________________Reasons  DetailsProcessing the information:1. What are the reasons for not allowing students to bring mobile phones    to school?2. What facts are used to support the argument? Are these convincing?3. Do you agree with the writer?4. What kind of writing is this?                                            239
YOUR TEXT                      Sorry,                Wrong Number           (A Radio Play) by Lucille FletcheCAST                 Sergeant DuffyMrs. Stevenson       Third OperatorOperator             Woman at Henchley HospitalFirst Man            Western Union ClerkSecond Man (George)  Information OperatorChief OperatorSecond Operator(Sound: Number being dialed on phone; busy signal.)Mrs. Stevenson: (a querulous, self-centered neurotic) Oh—dear! (Slams    down receiver. Dials Operator. )Operator: Your call, please?Mrs. Stevenson: Operator? I’ve been dialing Murray Hill 4-0098 now    for the last three-quarters of an hour, and the line is always busy. But I    don’t see how it could be busy that long. Will you try it for me, please?Operator: Murray Hill 4-0098? One moment, please.Mrs. Stevenson: I don’t see how it could be busy all the time. It’s my    husband’s office. He’s working late tonight, and I’m all alone here in    the house. My health is very poor—and I’ve been feeling so nervous    all day—Operator: Ringing Murray Hill 4-0098.    (Sound: Phone buzz. It rings three times. Receiver is picked up at the    other end.)Man: Hello.Mrs. Stevenson: Hello? (a little puzzled) Hello. (louder) Hello.                                       240
Man: (into phone, as though he had not heard) Hello. (louder) Hello.Second Man: (slow, heavy quality, faintly foreign accent) Hello.First Man: Hello. George?George: Yes, sir.Mrs. Stevenson: (louder and more imperious, to phone) Hello. Who’s    this? What number am I calling, please?First Man: We have heard from our client. He says the coast is clear    for tonight.George: Yes, sir.First Man: Where are you now?George: In a phone booth.First Man: Okay. You know the address. At eleven o’clock the private    patrolman goes around to the bar on Second Avenue for a beer. Be    sure that all the lights downstairs are out. There should be only one    light visible from the street. At eleven fifteen a subway train crosses    the bridge. It makes a noise in case her window is open and she should    scream.Mrs. Stevenson: (shocked) Oh—hello! What number is this, please?George: Okay, I understand.First Man: Make it quick. As little blood as possible. Our client does not    wish to make her suffer long.George: A knife okay, sir?First Man: Yes, a knife will be okay. And remember—remove the rings    and bracelets, and the jewelry in the bureau drawer. Our client wishes    it to look like simple robbery.George: Okay, I get— (sound: a bland buzzing signal)Mrs. Stevenson: (clicking phone) Oh! (Bland buzzing signal continues.    She hangs up.) How awful! How unspeakably— (sound of dialing;    phone buzz)Operator: Your call, Please?Mrs. Stevenson. (unnerved and breathless, into phone) Operator,    I—I’ve just been cut off.Operator: I’m sorry, madam. What number were you calling?                                       241
Mrs. Stevenson: Why—It was supposed to be Murray Hill 4-0098,    but it wasn’t. Some wires must have crossed—I was cut into a wrong    number—and—I’ve just heard the most dreadful thing—-a—a mur-    der—and— (imperiously) Operator, you’ll simply have to retrace that    call at once.Operator: I beg your pardon, madam—I don’t quite—Mrs. Stevenson: Oh—I know it was a wrong number, and I had no busi-    ness listening—but these two men—they were cold-blooded fiends—    some poor innocent woman—who was all alone—in a house near a    bridge. And we’ve got to stop them—we’ve got to—Operator: (patiently) What number were you calling, madam?Mrs. Stevenson: That doesn’t matter. This was a wrong number. And    you dialed it. And we’ve got to find out what it was—immediately!Operator: But—madam—Mrs. Stevenson: Oh, why are you so stupid? Look it was obviously a case    of some little slip of the finger. I told you to try Murray Hill 4-0098    for me—you dialed it—but your finger must have slipped—and I was    connected with some other number—and I could hear them, but they    couldn’t hear me. Now, I simply fail to see why you couldn’t make that    same mistake again—on purpose—why you couldn’t try to dial Murray    Hill 4-0098 in the same careless sort of way—Operator: (quickly) Murray Hill 4-0098? I will try to get it for you,    madam.Mrs. Stevenson: (sarcastically) Thank you. (sound of ringing, busy    signal)Operator: I am sorry. Murray Hill 4-0098 is busy.Mrs. Stevenson: (frantically clicking receiver) Operator. Operator.Operator: . Yes, madam.Mrs. Stevenson: (angrily) You didn’t try to get that wrong number at    all. I asked explicitly. And all you did was dial correctly.Operator: I am sorry. What number were you calling?Mrs. Stevenson: Can’t you, for once, forget what number I was calling,    and do something specific? Now I want to trace that call. It’s my civic    duty—it’s your civic duty—to trace that call—and to apprehend those    dangerous killers—and if you won’t—Operator: . I will connect you with the Chief Operator.                                       242
Mrs. Stevenson: Please!(sound of ringing)Chief Operator: (coolly and professionally) This is the Chief Operator.Mrs. Stevenson: Chief Operator? I want you to trace a call. A telephone    call. Immediately. I don’t know where it came from, or who was mak-    ing it, but it’s absolutely necessary that it be tracked down. Because    it was about a murder. Yes, a terrible cold-blooded murder of a poor    innocent woman—tonight—at eleven fifteen.Chief Operator: I see.Mrs. Stevenson: (high-strung, demanding) Can you trace it for me?    Can you track down those men?Chief Operator: It depends, madam.Mrs. Stevenson: Depends on what?Chief Operator: It depends on whether the call is still going on. If it’s    a live call, we can trace it on the equipment. If it’s been disconnected,    we can’t.Mrs. Stevenson: Disconnected!Chief Operator: If the parties stopped talking to each other.Mrs. Stevenson: Oh—but—but of course they must have stopped talking    to each other by now. That was at least five minutes ago—and they    didn’t sound like the type who would make a long call.Chief Operator: Well, I can try tracing it. Now—what is your name,    madam?Mrs. Stevenson: Mrs. Stevenson. Mrs. Elbert Stevenson. But—listen—Chief Operator: (writing it down) And your telephone number?Mrs. Stevenson: (more irritated) Plaza 4-2295. But if you go on wasting    all this time--Chief Operator: And what is your reason for wanting this call traced?Mrs. Stevenson: My reason? Well—for heaven’s sake—isn’t it obvious?    I overheard two men—they’re killers—they’re planning to murder this    woman—it’s a matter for the police.Chief Operator: Have you told the police?Mrs. Stevenson: No. How could I?Chief Operator: You’re making this check into a private call purely as    a private individual?Mrs. Stevenson: Yes. But meanwhile—                                       243
Chief Operator: Well, Mrs. Stevenson—I seriously doubt whether we    could make this check for you at this time just on your say-so as a    private individual. We’d have to have something more official.Mrs. Stevenson: Oh, for heaven’s sake! You mean to tell me I can’t    report a murder without getting tied up in all this red tape? Why, it’s    perfectly idiotic. All right, then, I will call the police. (She slams down    receiver) Ridiculous! (sound of dialing)Second Operator: Your call, please?Mrs. Stevenson: (very annoyed) The Police Department—please.Second Operator: Ringing the Police Department.(Rings twice. Phone is picked up.)Sergeant Duffy: Police Department. Precinct 43. Duffy speaking.Mrs. Stevenson: Police Department? Oh. This is Mrs. Stevenson—Mrs.    Elbert Smythe Stevenson of 53 North Sutton Place. I’m calling to    report a murder.Sergeant Duffy: Eh?Mrs. Stevenson: I mean— the murder hasn’t been committed yet. I just    overheard plans for it over the telephone… over wrong number that    the operator gave me. I’ve been trying to trace down the call myself,    but everybody is so stupid—and I guess in the end you’re the only    people who could do anything.Duffy: (not too impressed) Yes, ma’am.Mrs. Stevenson: (trying to impress him) It was a perfectly definite    murder. I heard their plans distinctly. Two men were talking and they    were going to murder some woman at eleven fifteen tonight—she lived    in a house near a bridge.Duffy: Yes ma‘am.Mrs. Stevenson: And there was a private patrolman on the street. He    was going to go around for a beer on second Avenue. And there was    some third man–a client–who was paying to have this poor woman    murdered–They were going to take her rings and bracelets—and use    a knife— Well, it’s unnerved me dreadfully— and I’m not well—Duffy: I see. When was all this, ma’am?Mrs. Stevenson: About eight minutes ago. Oh…(relieved) then you can    do something? You do understand—Duffy: And what is your name, ma’am?                                       244
Mrs. Stevenson: (impatiently) Mrs. Stevenson. Mrs. Elbert Stevenson.Duffy: And your address?Mrs. Stevenson: 53 North Sutton Place. That’s near a bridge, the    Queensborough Bridge, you know—and we have a private patrolman    on our street—and Second Avenue—Duffy: And what was that number you were calling?Mrs. Stevenson: Murray Hill 4-0098. But –-that wasn’t the number I    overheard. I mean Murray Hill 4-0098 is my husband’s office. He’s    working late tonight, and I was trying to reach him to ask him to come    home. I’m an invalid, you know— and it’s the maid’s night off—and I    hate to be alone— even though he says I’m perfectly safe as long as I    have the telephone right beside my bed.Duffy: (stolidly) Well, we’ll look into it Mrs. Stevenson, and see if we can    check it with the telephone company.Mrs. Stevenson: (getting impatient) But the telephone company said    they couldn’t check the call if the parties had stopped talking. I’ve    taken care of that.Duffy: Oh, yes?Mrs. Stevenson: (highhanded) Personally I feel you ought to do some-    thing far more immediate and drastic than just check the call. What    good does checking the call do, if they’ve stopped talking? By the time    you track it down, they’ll already have committed the murder.Duffy: Well, we’ll take care of it, lady. Don’t worry.Mrs. Stevenson: I’d say the whole thing calls for a search—a complete    and thorough search of the whole city. I’m very near a bridge, and I’m    not far from Second Avenue. And I know I’d feel a whole lot better if    you sent a radio car to this neighborhood at once.Duffy: And what makes you think the murder’s going to be committed    in your neighborhood, ma’am?Mrs. Stevenson: Oh, I don’t know. This coincidence is so horrible.    Second Avenue—the patrolman—the bridge—Duffy: Second Avenue is a long street, ma’am. And do you happen to    know how many bridges there are in the city of New York alone? Not    to mention Brooklyn, Staten Island, Queens, and the Bronx? And how    do you know there isn’t some little house out on Staten Island—on    some little Second Avenue you’ve never heard about? How do you    know they were even talking about New York at all?                                       245
Mrs. Stevenson: But I heard the call on the New York dialing system.Duffy: How do you know it wasn’t a long-distance call you overheard?    Telephones are funny things. Look, lady, why don’t you look at it this    way? Supposing you hadn’t broken in on that telephone call? Supposing    you’d got your husband the way you always do? Would this murder    have made any difference to you then?Mrs. Stevenson: I suppose not. But it’s so inhuman—so cold-blooded—Duffy: A lot of murders are committed in this city every day, ma’am. If    we could do something to stop ‘em, we would. But a clue of this kind    that’s so vague isn’t much more use to us than no clue at all.Mrs. Stevenson: But surely—Duffy: Unless, of course, you have some reason for thinking this call is    phony—and that someone may be planning to murder you?Mrs. Stevenson: Me? Oh, no, I hardly think so. I—I mean— why should    anybody? I’m alone all day and night—I see nobody except my maid    Eloise—she’s a big two-hundred pounder—she’s too lazy to bring up my    breakfast tray—and the only other person is my husband Elbert—he’s    crazy about me—adores me—waits on me hand and foot—he’s scarcely    left my side since I took sick twelve years ago—Duffy: Well, then, there’s nothing for you to worry about, is there? And    now, if you’ll just leave the rest to us--Mrs. Stevenson: But what will you do? It’s so late—it’s nearly eleven    o’clock.Duffy: (firmly) We’ll take care of it, lady.Mrs. Stevenson: Will you broadcast it all over the city? And send out    squads? And warn your radio cars to watch out—especially in suspi-    cious neighborhoods like mine?Duffy: (more firmly) Lady, I said we’d take care of it. Just now I’ve got a    couple of other matters here on my desk that require my immediate—Mrs. Stevenson: Oh! (She slams down receiver hard.) Idiot. (looking    at phone nervously) Now, why did I do that? Now he’ll think I am a    fool. Oh, why doesn’t Elbert come home?Why doesn’t he? (sound of    dialing operator)Operator: Your call, please?Mrs. Stevenson: Operator, for heaven’s sake, will you ring that Murray    Hill 4-0098 again? I can’t think what’s keeping him so long.                                       246
Operator: Ringing Murray Hill 4-0098. (Rings. Busy signal) The line    is busy. Shall I—Mrs. Stevenson: (nastily) I can’t hear it. You don’t have to tell me. I    know it’s busy. (slams down receiver) If I could only get out of this    bed for a little while. If I could get a breath of fresh air—or just lean    out the window—and see the street—(The phone rings. She darts for    it instantly.) Hello. Elbert? Hello. Hello. Hello. Oh, what’s the matter    with this phone? Hello? Hello? (slams down receiver) (The phone rings    again, once. She picks it up.) Hello? Hello—Oh, for heaven’s sake, who    is this? Hello. Hello. Hello. (slams down receiver. Dials operator.)Third Operator: Your call, please?Mrs. Stevenson: (very annoyed and imperious) Hello, operator. I don’t    know what’s the matter with this telephone tonight, but it’s positively    driving me crazy. I’ve never seen such inefficient, miserable service.    Now, look. I’m an invalid, and I’m very nervous, and I’m not supposed    to be annoyed. But if this keeps on much longer—Third Operator: (a young sweet type) What seems to be the trouble,    madam?Mrs. Stevenson: Well, everything’s wrong. The whole world could be    murdered, for all you people care. And now, my phone keeps ringing—Operator: Yes, madam?Mrs. Stevenson: Ringing and ringing and ringing every five seconds or    so, and when I pick it up, there’s no one there.Operator: I’m sorry, madam. If you will hang up, I will test it for you.Mrs. Stevenson: I don’t want you to test it for me. I want you to put    through that call—whatever it is –at once.Operator: (gently) I am afraid that is not possible, madam.Mrs. Stevenson: (storming) Not possible? And why, may I ask?Operator: The system is automatic, madam. If someone is trying to    dial your number, there is no way to check whether the call is coming    through the system or not—unless the person who is trying to reach    you complains to his particular operator—Mrs. Stevenson: Well, of all the stupid, complicated--! And meanwhile    I’ve got to sit here in my bed, suffering every time that phone rings,    imagining everything—Operator: I will try to check it for you, madam.                                       247
Mrs. Stevenson: Check it! Check it! That’s all anybody can do. Of all the    stupid, idiotic…! (She hangs up) Oh—what’s the use…(Instantly Mrs.    Stevenson’s phone rings again. She picks up the receiver. Wildly.)    Hello, HELLO. Stop ringing, do you hear me? Answer me? What do    you want? Do you realize you’re driving me crazy? Stark, staring—Man: (dull, flat voice) Hello. Is this Plaza 4-2295?Mrs. Stevenson: (Catching her breath) Yes. Yes. This is Plaza 4-2295.Man: This is Western Union. I have a telegram here for Mrs. Elbert Ste-    venson. Is there anyone there to receive the message?Mrs. Stevenson: (trying to calm herself) I am Mrs. Stevenson.Western Union: (reading flatly) The telegram is as follows: “Mrs. El-    bert Stevenson. 53 North Sutton Place, New York, New York. Darling.    Terribly sorry. Tried to get you for last hour, but line busy. Leaving for    Boston 11 P.M. tonight on urgent business. Back tomorrow afternoon.    Keep happy. Love. Signed, Elbert.Mrs. Stevenson: (breathing, aghast to herself) Oh—no—Western Union: That is all, madam. Do you wish us to deliver a copy    of the message?Mrs. Stevenson: No—no, thank you.Western Union: Thank you, madam. Good night. (He hangs up phone.)Mrs. Stevenson: (mechanically, to phone) Good night. (She hangs    up slowly, suddenly bursting into tears.) No—no—it isn’t true! He    couldn’t do it. Not when he knows I’ll be all alone. It’s some trick—    some fiendish—(She dials operator.)Operator: (coolly) Your call, please?Mrs. Stevenson: Operator—try that Murray Hill 4-0098 number for    me just once more, please.Operator: Ringing Murray Hill 4-0098 (Call goes through. We hear    ringing at the other end. Ring after ring.)Mrs. Stevenson: He’s gone. Oh, Elbert, how could you? How could    you—? (She hangs up phone, sobbing pityingly to herself, turning    restlessly.) But I can’t be alone tonight. I can’t. If I’m alone one more    second—I don’t care what he says—or what the expense is—I’m a sick    woman—I’m entitled—(She dials Information.)Information: This is Information.                                       248
Mrs. Stevenson: I want the telephone number of Henchley Hospital.Information: Henchley Hospital? Do you have the address, madam?Mrs. Stevenson: No. It’s somewhere in the seventies, though. It’s a    very small, private, and exclusive hospital where I had my appendix    out two years ago. Henchley, H-E-N-C--Information: One moment, please.Mrs. Stevenson: Please—hurry. And please—what is the time?Information: I do not know, madam. You may find out the time by    dialing Meridian 7-1212.Mrs. Stevenson: (Irritated) Oh, for heaven’s sake! Couldn’t you--?Information: The number of Henchley Hospital is Butterfield 7-0105,    madam.Mrs. Stevenson: Butterfield 7-0105. (She hangs up before she finishes    speaking, and immediately dials number as she repeats it.) (Phone    rings.)Woman: (middle-aged, solid, firm, practical) Henchley Hospital, good    evening.Mrs. Stevenson: Nurses’ Registry.Woman: Who was it you wished to speak to, please?Mrs. Stevenson: (highhanded) I want the Nurses’ Registry at once. I    want a trained nurse. I want to hire her immediately. For the night.Woman: I see. And what is the nature of the case, madam?Mrs. Stevenson: Nerves. I’m very nervous. I need soothing—and com-    panionship. My husband is away-- and I’m—Woman: Have you been recommended to us by any doctor in particular,    madam?Mrs. Stevenson: No. But I really don’t see why all this catechizing is    necessary. I want a trained nurse. I was a patient in your hospital two    years ago. And after all, I do expect to pay this person—Woman: We quite understand that, madam. But registered nurses are    very scarce just now—and our superintendent has asked us to send    people out only on cases where the physician in charge feels it is ab-    solutely necessary.Mrs. Stevenson: (growing hysterical) Well, it is absolutely necessary.                                       249
I’m a sick woman. I–-I’m very upset. Very. I’m alone in this house—    and I’m an invalid and tonight I overheard a telephone conversation    that upset me dreadfully. About a murder—a poor woman who was    going to be murdered at eleven fifteen tonight—in fact, if someone    doesn’t come at once— I’m afraid I’ll go out of my mind (almost off    handle by now)Woman: (calmly) I see. Well, I’ll speak to Miss Phillips as soon as she    comes in. And what is your name, madam?Mrs. Stevenson: Miss Phillips. And when do you expect her in?Woman: I really don’t know, madam. She went out to supper at eleven    o’clock.Mrs. Stevenson: Eleven o’clock. But it’s not eleven yet. (She cries out.)    Oh, my clock has stopped. I thought it was running down. What time    is it?Woman: Just fourteen minutes past eleven.    (Sound of phone receiver being lifted on same line as Mrs. Steven-    son’s. A click.)Mrs. Stevenson: (crying out) What’s that?Woman: What was what, madam?Mrs. Stevenson: That—that click just now—in my own telephone? As    though someone had lifted the receiver off the hook of the extension    phone downstairs—Woman: I didn’t hear it, madam. Now—about this—Mrs. Stevenson: (scared) But I did. There’s someone in this house.    Someone downstairs in the kitchen. And they’re listening to me now.    They’re—Hangs up phone. In a suffocated voice.) I won’t pick it up. I    won’t let them hear me. I’ll be quiet—and they’ll think—(with grow-    ing terror) But if I don’t call someone now—while they’re still down    there—there’ll be no time. (She picks up receiver. Bland buzzing sig-    nal. She dials operator. Ring twice.)Operator: (fat and lethargic) Your call, please?Mrs. Stevenson: (a desperate whisper) Operator, I—I’m in desperate    trouble—I—Operator: I cannot hear you, madam. Please speak louder.Mrs. Stevenson: (Still whispering) I don’t dare. I—there’s someone    listening. Can you hear me now?                                       250
Operator: Your call, please? What number are you calling, madam?Mrs. Stevenson: (desperately) You’ve got to hear me. Oh, please. You’ve    got to help me. There’s someone in this house. Someone who’s going to    murder me. And you’ve got to get in touch with the—(Click of receiver    being put down in Mrs. Stevenson’s line. Bursting out wildly.) Oh,    there it is—he’s put it down—he’s put down the extension—he’s com-    ing—(She screams.) He’s coming up the stairs—(hoarsely) Give me the    Police Department—(screaming) The police!Operator: Ringing the Police Department.    (Phone is rung. We hear sound of a train beginning to fade in. On    second ring, Mrs. Stevenson screams again, but roaring of train    drowns out her voice. For a few seconds we hear nothing but roaring    of train, then dying away, phone at police headquarters ringing.)Duffy. Police Department. Precinct 43. Duffy speaking. (pause) Police    Department. Duffy speaking.George. Sorry, wrong number. (hangs up)TASK 7 Getting the Chill         Arrange the movies in the Chill Factor Chart according to how they pow-erfully affect you: suspenseful, frightening, horrifying, terrifying.                      CHILL FACTOR CHART               Movie                      EffectThe ConjuringYou’re NextThe ExorcistInsidiousAnaconda                   suspensefulDescribe a time when you’ve experienced something frightening or suspenseful.                      251
TASK 8 Crossing DifficultiesGive the meaning of the underlined words in these sentences. Choose your an-swers from the synonyms in the box.    1. Mrs. Stevenson is identified as a querulous and self-centered neurotic.    2. She became imperious when she could not connect to the number she         dialled.    3. When she dialed again, she only got a bland buzzing signal and heard the         conversation on the cross line.    4. The telephone operator’s failed attempts to connect to her husband’s         office number unnerved her.    5. She gave a highhanded reply when she sensed Sgt. Duffy did not take         action on her complaint.TASK 9 Tuning In         a. Listen to the radio play as you read the text excerpt.         b. Notice the delivery of the lines, the tone of voice of the characters, and             the sound effects used.TASK 10 Delving DeeperForm groups of ten and work on any of the given tasks below.    A. Tracking events         Arrange the events according to their occurrence in the play. Enter your         answer in the box, then explain the acceptability of your arrangement           1. 2. 3. 4. 5.           a. She accidentally overheard a conversation between two men                planning a murder.           b. Desperate to prevent the crime, she began a series of calls--to                the operator, to the police, and others.                                                 252
c. Mrs. Stevenson is an invalid confined to her bed and her only           life- line was the telephone.      d. One night, while she was waiting for her husband to return           home, she picked up the phone and called his office.      e. Her conversation with Sgt. Duffy made her realize the descrip-           tion of the crime scene and victim.B. Discovering traits    Describe the characters by putting traits on the strands.Mrs. Stenvenson                      Sgt. Duffy    C. Gathering leads to suspense         Based on the script, point out the parts in the play that help build tension,         including the pace.    D. Releasing features         Focus on the features of a one-act radio play--delivery of the lines, the         tone of voice of the characters, and the sound effects used. Explain their         importance to the play.TASK 11 Firming Up    Answer the following questions:     a. Which parts of the story can you find heightened tension and suspense?         What is its effect on you?     b. Was Mrs. Stevenson able to connect to get help? How?     c. Would you be willing enough to face danger just to help somebody in         trouble? Explain your answer.                 253
TASK 12 Sounding Words Correctly         In performing a radio play, the voice carries the tone and emotion of thecharacters. Hence, it is important that words have to be sounded correctly.    a. These are some critical vowel sounds. Pronounce the words correctly[a] [æ]                           [e] [∑]art, arc, clam, at, ask, accent,  age, acre, alias, ebb, elbow,guardian,     attic, badge,       fame, jade,  says, bread,sardine, father, gas, patch,      matrix, chaos, weather,hard, olive,  hang, bache-        atrium, maze, weapon, peas-lobby, bond, lor, cabin, lass,    pathos       ant, meant,barter, locket baffle, ash                     heavy, steady                                               send, check,                                               pepper    b. Practicing the sounds         Work in four groups. Each group must work on one short vowel sound,         then present the output to the class.Group 1. [e] The agent was able to close the deal.A sailboat waits on the bay.A plate of bacon and eggs is on the table.Group 2. [∑] Eddy and Eli are best friends forever.Many peasants are ready to fill the land.It’s festive weather for a picnic in the meadow.Group 3. [æ] The captain is a bachelor.The land map was accurate.He brought ham and apples.Group 4. [a] The office staff waited at the lobby.She won a carpet at the lottery.The doll had a lovely locket.He offered us sardines with olives.              254
TASK 13 Enjoying My Passion         People engage in different activities to keep them involved in the com-munity and at the same time help others. Do you do this, too?a. Read the sentences below and answer the questions that follow.    1. Studying and excelling in many extra-curricular programs and my church         youth group have given me many opportunities to improve my school as         well as help the community.    2. Some activities that make me happy are doing volunteer work and pur-         suing my career.    3. I am confident in saying that I am well-adapted and prepared to succeed         and be involved in the community.    4. I enjoyed volunteering at the Parish Rest House, making beds, cleaning         windows, and mopping floors.    5. My passion, helping people, gives me satisfaction.Processing:    1. What do you notice about the underlined words?    2. What do you call a word derived from a verb?    3. What name do we give to a verbal ending in –ing used as a noun?    4. How is a gerund used in each sentence?KEY POINTSA gerund is usually defined as a word ending in –ing that is formedfrom a verb and that functions as a noun specifically used as a subject,a subjective complement, an object of the preposition, a direct object,and an appositive.Examples:Subject: Exercising is good for our health.Subjective complement: Lyka’s favorite exercise is jogging.Object of a preposition: Merla keeps herself in good shape by dancing.Direct object: Lester does boxing in the gym twice a week.Appositive: My only exercise, walking, is not taxing.                                                 255
B. Giving it a try.Study the paragraph. Identify the use of the underlined gerunds by choosing theletter of your answer from the box.A. Subject                  D. Direct objectB. Subjective complement    E. AppositiveC. Object of a preposition    Helping people is a responsibility of every citizen, I believe. And I used tohelp everyone I could. I enjoyed the feeling I got when I reversed a stranger’sawful day and turned it into something good. I’ve learned better since then. Don’tget me wrong; I still agree with and practice the concept, but I’m much moreadept at it now that I have gained experience. Even though I was the rescuer,it seemed like I always had to pay a personal price for being kind to people.After suffering much heartache, embarrassing episodes, and personal loss, I’velearned that giving help to my fellow human beings can be a risky endeavour ifnot approached correctly.C. Honing skillsWrite the gerunds. Then, explain its use in each sentence.    1. Helping a friend is an automatic yes in your book.    2. Helping others with a favour is dangerous and should be avoided.    3. When it comes to helping, ultimately, it’s not even about expecting money         or just helping friends out.    4. Take time getting used to refusing people’s requests.    5. Although simple, it is similar to the rules that prevent people from bump-         ing into others in the streets.    6. Won’t people see you as a jerk in refusing to help them?    7. Individuals may even get mad for saying no to them.    8. You can boil this down as the difference of needing vs. wanting help.    9. One way to deal with this is by giving your closest friends and family a         higher priority.    10. You can’t stand still watching others in need, but at the same time you         can’t assist everyone to your own detriment.                            256
D. Mastering it!Work with a partner. Convert the following verbs to gerund and constructsentences using its varied functions.1. run            6. beat2. buy            7. sit3. sell           8. let4. ask            9. see5. wait           10. cookE. Describing a photo: Pair workShare a picture with your partner and talk about it using a gerund.Example: I remember taking this picture. It was a weekend in July. Myfamily was at the beach. I remember asking my sister to take thepicture quickly because the sun was in my eyes. It was a beautiful,sunny day.YOUR DISCOVERY TASKSTASK 14. Getting into the World of Laughter and TearsA. Agreeing-DisagreeingPut a check mark ✔ if you agree with the statement; X if you disagree. Explainyour answer to a partner.    1. Theater is the same as theatre.    2. Drama is different from a play.    3. A script is the written conversation in a play.    4. A change in time is one scene in a play.     5. A one-act play has all the elements of drama.B. Familiarizing Yourself with the stage    1. With a partner, study the stage layout. Make directions from the perspective         of the actor (facing the audience) and of the audience (facing the stage).    Examples: Downstage Rght (DR)                   Downstage Left Center (DLC)                                  257
TASK 15. Revisiting the Radio PlayRefer to the one-act radio play script to answer these questions:    1. Is Sorry, Wrong Number a one-act play?    2. The elements of a one-act play are found in the script. Fill-in the grid         below with the needed information.Elements of one-act play           Details1. Setting2. Plot and plot structure3. Character and characterization4. Conflict5. Theme6. Suspense and atmosphereTASK 16 Connecting LivesWhen do you dial a friend?You have a civic obligation to help others. Would you be willing enough to takethe risk of helping others in need?                            258
Using a sheet of paper, write a paragraph on the topic: helping others at my ownrisk. Choose one from the possible situations below.Possible situations:    1. A friend is habitually absent and asks you to cover up his being hooked         to computer games.    2. You witness a hit and run vehicular accident and the victim needs your         help.    3. Your classmate’s cell phone was confiscated because he was watching         pornography, and he wants you to help him get his cell phone.    4. Your neighbor badly needs money, but the only money you have got is         your weekly allowance.    5. A close friend runs away from home and asks you to let him stay in your         house.  YOUR FINAL TASKTASK 17. Getting a Clear PictureDirection: Evaluate the plot summary according to/against the guidelines     Plot Summary/Synopsis                                  GuidelinesMrs. Stevenson is sick and        Guidelines to Writing a Good Plot Summaryconfined to her bed. Her onlylifeline is the telephone. One    1. The time and place should be indicated atnight, while waiting for her          the beginning of the synopsis.husband to return home, sheimpatiently tries to locate       2. A brief description of the main charac-him. She picks up the phone           ters should be given as they appear in theand accidentally overhears            story.a conversation through across-line, between two men       3. The synopsis should begin at the openingplanning to murder a woman            of the story and told in the same order aswho lives near a bridge on            the play, and end at the play’s conclusion.Second Avenue at 11:15 atnight on that day. She begins     4. Dramatic scenes that propel the story for-a series of calls--to the opera-      ward, including climatic scenes should betor, to the police, and others,       described within the synopsis.desperate to prevent thecrime.                            5. The synopsis must be no longer than 250                                      words long.                                  6. The story must be told in the present tense                                      and in the third person.                                  7. When telling the story, dialogue should not                                      be included. The story should be related in                                      an informal way.                                  259
Processing:        Give your reasons for following the guidelines on writing a synopsis.        MY TREASURE                          http://www.searchquotes.com/quotes/about/Helpfulness/Complete each clause in your notebook.Summing up what I learned in my journey through this lesson, it enables me to________________________________________________________________________________________________________________________________________________________________________________________________________________________It made me realize that __________________________________________________________________________________________________________________________________________________________________________________________________I therefore commit to ___________________________________________________________________________________________________________________________________________________________________________________________________                                                          260
LESSON 2MAKING A DIFFERENCE       YOUR JOURNEY             In many ways your life has been made easier         and more efficient with technology that enables you         to keep in touch. With just a click of a button (or a         mouse) you have email, Facebook, Twitter, blogs,         online fora, list-servs and threads, virtual reality,         webcasts and webinars, instant messaging (IM), text         messaging (and many other features of technology)         and you are able to connect to the world.              This lesson allows you to further explore the world         and see how people make a difference in the lives of other people by making use         of their time, talent, and heart. Your involvement in making connections is an         enriching and empowering experience.        YOUR OBJECTIVES         For you to clarify the path of your journey in making valuable contributions         to the world, you are expected to:         • interpret ideas presented in a poster         • reflect on the message conveyed in the material viewed         • analyze literature as a means of connecting to the world         • produce the critical consonant sounds correctly         • use gerunds and gerund phrases in expressing ways on how to shape the             world         • reflect on how to manage the use of ICT gadgets without deviating from             human interaction         • recognize the structures and types of stages for stage plays         • finalize content of plot synopsis         • enhance the experience through the library’s information sources                                                           261
YOUR INITIAL TASKSTask 1 Promoting AdvocacyStudy the poster and evaluate its message. What is in the poster that would makeyou accept the invitation to join the conference?                  http://www.youthmakingadifference.ca/conference/conference2012/poster/Task 2 Messaging Electronically1. Why do you use a computer? Why do you create a Facebook account?2. Give other examples of the latest gadgets for messaging.                                                 262
Task 3 Emulating Accomplished People    Some people do ordinary things that produce amazing results, making themdifferent from the rest. One of them is Bill Gates whose curiosity led to a revo-lutionized information technology.    Prepare yourselves for a Power Point presentation. Take note of the infor-mation that will complete the grid below.       Personalities      Nationality  AdvocacyMelinda Gates           AmericanGhalib Khalil                          Educate street children through a pushEfren Peñaflorida                      cart classroom.Mark HymanArnel Pineda            FilipinoEvans WadongoNarayanan KrishnanJulia ‘Butterfly’ HillA. Be able to explain the significance of the material shown.    1. What qualities make these people extraordinary?    2. What has prompted them to make a difference in other people’s lives?    3. What impact have they made on the people around them?    4. Simple people like Arnel Pineda, Efren Peñaflorida, and Ghalib Khalil have         become extraordinary. Does it mean you can also be an extraordinary         person? Explain.B. What have you realized?    You have learned about these extraordinary people’s advocacies that made    a significant impact on others. This time write your reflections on these on    a ½ sheet of paper.                                  263
Task 4 Considering Options  I’ve got a cell phone,  email, and voice mail.  But why am I so lonely?1. This man has all the modern gadgets, yet he is still lonely. Why do you think    this is so?2. What general truth in life is being depicted?Task 5 Figuring It OutMatch the italicized words in Column A with their meanings in Column B. Writethe number of your answer in the magic square.                                       AB                                       CD                                       EF                                  A                              B                                                  a. hindrance1. Evidently, the untethered electronic voice is   preferable to human contact.2. The driver shushed us because he could not hear b. one who opposes   the person on the other end of his cell phone technological change3. Every advance in communications technology is a c. unlimited resources orsetback to the intimacy of human interaction      endurance4. I am no Luddite. I own a cellphone, an ATM card, d. ordered to be silent   and an email account.5. The communications revolution makes us stop    e. shrink in fear   talking to one another. This makes me cringe.6. I’ve put myself on technology restriction: no  f. limit   instant messaging to people near me.                                                  g. to wish or long for264
YOUR TEXTTask 6 Stimulating Responsibilitiesa. Work in four groups and read the selection that follows.b. Formulate questions and try to answer each.c. For each question and answer given, the group gains a smiley that is to be    entered in the score board.d. The group with the most entries or has the highest score is the winner.Score board for the group activity  Groups\Scores  Questions          Answer    Total                  (Scores)          (Scores)  Score1234                    For Conversation, Press # 1                                   by Michael Alvear    A funny thing happened in the way to communications revolution: westopped talking to one another.    I was walking in the park with a friend recently, and his cell phonerang, interrupting our conversation. There we were, walking and talkingon a beautiful sunny day and—poof! ---I became invisible, absent from theconversation because of a gadget designed to make communication easier.    The park was filled with people talking on their cell phones. They werepassing other people without looking at them, saying hello, noticing theirbabies or stopping to pet their puppies. Evidently, the untethered electronicvoice is preferable to human contact.    The telephone used to connect you to the absent. Now it makes peoplesitting next to you feel absent.                            265
Why is it that the more connected we get, the more disconnected I feel?  Every advance in communications technology is a setback to the intimacy of  human interaction. With e-mail and instant messaging over the Internet, we  can now communicate without seeing or talking to one another. In making  deposit at the bank, you can just insert your card into the ATM. With voice  mail, you can conduct entire conversations without ever reaching anyone.  If my mom has a question, I just leave the answer on her machine.      As almost every conceivable contact between human beings gets auto-  mated, the alienation index goes up.      I am no Luddite. I own a cell phone, an ATM card, a voice-mail system,  and an e-mail account. Giving them up isn’t an option---they’re great for  what they’re intended to do. It’s their unintended consequences that make  me cringe.      So I’ve put myself on technology restriction: no instant messaging with  people who live near me, no cell-phoning in the presence of friends, no  letting the voice mail pick up when I’m home.  Readers Digest, pp. 143-145, July 2000Task 7 Understanding the TextChoose the correct answer to each item.1. The author’s purpose in writing the article is to make us realize that ________.    a. communications technology is interfering with human contact    b. people are communicating less than they did in the past    c. the advances in communications technology are unnecessary    d. people are forgetting how to communicate with others2. The question “Why is it that the more connected we get, the more discon-    nected I feel?” _____________.    a. reveals the author’s confusion about technology    b. invites the reader to disagree with the author    c. highlights the author’s examples and arguments    d. challenges the reader to find answers to problems                                                 266
3. The author’s tone throughout the selection is _________.a. amusement             c. hostilityb. criticism             d. indifference4. The third and fourth paragraphs give emphasis on how a cell phone ______.a. provides convenience  c. isolates peopleb. threatens safety      d. efficiently works5. The idea that bothers the author most about the effect of communications    technology on his life is _______________.    a. limited communication with strangers    b. lack of social formula    c. extreme preference for cell phones    d. deviation from meaningful interactionTask 8 Enriching Your Experience1. Go back to the text For Conversation, Press # 1. Aside from the communications                                                My Reflections   technology cited by the author, what other technological advances in commu-   nication deviate from human interaction? Reflect on the author’s concern and   how you use your ICT gadgets without neglecting human interaction. Write   your reflections in your notebook.2. Form five groups to work on the activities below.Group 1 - ActorsIn a role play, show the proper etiquette when using a cell phone and telephone.(How should we deal with a phone call or text message when we are talking withsomeone?)                                                 267
Group 2 - DancersThrough a dance, interpret a song that discusses the author’s desire to havehuman contact rather than the use of technology in communication.Group 3 - MathematiciansMake a computation of how much your weekly expenses allotted for load andphone bills amount to. Think of how you can still use the technology but lessenthe expenses.Group 4 - ResearchersList the advantages and disadvantages of communications technology. Use thechart below.             Unit  Communications Technology  DisadvantagesTelephone                     AdvantagesCell phoneFax machineE-mailVoice mailGroup 5 - SingersCompose a jingle about communications technology highlighting its importancebut not losing interaction with others, then sing it.                   268
Task 9 Recalling Events: Throwback Mode1. Volunteer students read parts of the play. Find out the reason for the character’s    actions – their motivation.2. Listen to the characters read their parts on the radio conversations.    Note: The teacher stops the student who is reading, asks some questions,    and the student will answer in character.    Questions for:    a. Mrs. Stevenson       Why are you so arrogant and irritable?    b. Sgt. Duffy       Why did you not send some policemen to Mrs. Stevenson’s area to verify       her statements?    c. Operator       Why do you seem to be cool and patient with irate callers?    d. George       Why did you have to kill Mrs. Stevenson?Task 10 Delving DeeperWorking in six groups, read the remaining parts of a one-act radio play and beready to do your task.Group 1 - Third operatorFor whom is Mrs. Stevenson’s call?Group 2 - Western UnionWhy should Mrs. Stevenson call Western Union?Group 3 - InformationWhat does Mrs. Stevenson want from the Information?Group 4 - Henchley HospitalWas she able to get the help from a nurse?                                                 269
Group 5 - WomanWhat made Mrs. Stevenson so scared?Group 6 - Sgt. Duffy and GeorgeWhy should George tell Sgt. Duffy “Sorry, wrong number”?Task 11 Firming Up1. What makes the story suspenseful?2. Why is Mrs. Stevenson not able to get help?3. Mrs. Stevenson has already sensed that she is the woman to be murdered.    What would you do if you were in her place?4. What is the most interesting thing you learned about the play?5. How could you be of help to people in danger like Mrs. Stevenson?Task 12 Enriching Your ExperienceForm five groups to work on the activities below.A. Tracking Emotions    With a partner, create a line graph illustrating the rise and fall of a reader’s    emotion from the beginning up to the end of the play.B. A Scene After    As the play ends, George answers the phone, “Sorry, wrong number.” Make    a different ending by writing a script for this scene and act it out.C. Dance Mania    Choreograph a dance that interprets the message of the play using a song    that fits it.D. Vote a Quote    List quotations from established literary authors, or proverbs, or well- known    sayings which would be engraved on your tombstone (epitaph). It should    express a key feature of your own personality.E. Sketch a scene    Draw a picture of the area where Mrs. Stevenson lives.                                                 270
                                
                                
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